Generally speaking, we view optimism as a good thing. Optimism as opposed to pessimism; positive as opposed to negative. When someone claims to be a pessimist, we assume the person is a downer, while an optimist is someone who is fun to be around. In the same breath, however, we could say it is the difference of idealism against realism. An idealist is a person who strives for the absolute best (the ideal) in a situation, a person known otherwise as an optimist. By contrast, therefore, a realist must be someone who expects the worst. Is being realistic such a bad quality? No, we would not say outright: idealism equates to positivity and realism to negativity. To my mind, idealism and optimism may be synonymous, but realism is certainly not pessimism.
Optimism is a difficult state of mind. It takes work. Any opportunity that goes wrong is a proverbial chink in the armor. For pessimists, on the other hand, they can offer a casual accepting shrug to any incoming problem. Even though optimists are, by nature, positive people, their attitudes are often met with annoyance by other people. As if optimistic people are too clueless to realize what is actually going on, their benevolent actions are nearly invalidated. This is not very fair. If we've already established optimism is broadly positive, where is the logic in attacking it? Staying optimistic is worth the effort. It's what makes having a favorite sports team fun. Optimism puts the excitement in anticipation.
Conversely, optimism can lead to heightened disappointment. Perhaps, it is the outward expression of disappointment which gives optimism a bad rap. If we are constantly expecting the best, it is more likely to fall short of expectations than to meet them. In fact, it seems optimistic anticipation is directly related to disappointment. In any case, if we could monitor our levels of anticipation and disappointment, optimism could be a more attainable state of mind. As for the phrase, "cautiously optimistic," could a person reasonably claim instead to be "hopefully pessimistic"? Unfortunately, this is not part of regular vernacular. Simply put, optimism is one complex feeling.
Everyone could attempt to be a little more optimistic. Simply being optimistic is not a choice, to be sure, like any emotion is not a choice. I know that. But attempting to minimize poor expectations while opening a mind to the possibility of a good outcome has got to be an overall good thing. An optimist (probably) goes through life with fewer stresses. A scientific person (so, not myself) could go so far as to argue optimistic people live longer. They might even be more fun to be around, in the long run.
A realist is someone who expects something somewhere in the middle, not the best possible outcome but nowhere near the worst. A realist would be far too neutral to claim one side over the other. Instead, we should call a pessimist--join me, I'm smithing a word--a "despairist," one who expects the absolute worst. This is a far more accurate comparison. Honestly, most people are mostly realists most of the time because we live in a predictable world. I know I am. Sure, it's easy to get excited about one thing or dread another. But isn't it better to be happy along the way? If we could shift our expectations a slight fraction for the better--and allow others to do so as well--we might end up a happier place.
Wednesday, February 28, 2018
Monday, February 26, 2018
Game Review: What Remains of Edith Finch
The term, "walking simulator," does a disservice to most games. Okay, the majority of such a game is spent walking around, interacting with, and discovering facets about surroundings. It is not a "game" in the traditional sense of challenging puzzle solving or action-based levels. Such games are experiences which tell a story through interactions with the environment. Think of it like a book with more to do than simply turn pages. The term, "walking simulator," is reductive. It may be an accurate description, but it should not be a derisive one. That said, What Remains of Edith Finch is a walking simulator. It is also one of the finest examples of storytelling I have encountered this year--in any art form.
I should be up front: the developer of this game did something very nice for me. They exchanged a digital Steam code on my ancient PC for a shiny new code for the Xbox One version. It does not affect my opinion of the actual game, but it should be mentioned. Regardless, please note: the developers are pretty cool.
The story is told in a dozen or so short vignettes over the span of two hours. The short time frame, however, does not deter from the overall narrative. It is a collection of fascinating stories--some which are better than others--all told in a sitting or two. Each chapter follows events or moments in the lives of individual members of the Finch family. The theme is macabre (I mean, death is constantly encompassing) but not necessarily horrifying. And honestly, to say anymore about the experience would be a detriment.
When I say some of the stories are better than others, each episode takes a different approach. They all follow a different character, take place in another wing of the house, and utilize a new gameplay mechanic. Will all of these variations, some do fall short. Some characters are less interesting than others, or the new mechanic does not feel quite right. The beauty of the game’s format, however, eases from one story to the next so a weaker one does not linger. On the other hand, the stories are diverse and inventive, so they feel fresh. The highlights are very high.
The events spread throughout the brilliant set piece that is the Finch family house. A massive, sprawling structure complete with secret corridors and hideaways, simply exploring the house is a marvelous experience. For the couple hours spent in the house, the player begins to feel like another inhabitant. The house feels handcrafted yet bolted together, like a jigsaw puzzle. In reality, it would be a desirable place to explore.
Suffice to say, What Remains of Edith Finch is well worth the time. It is the type of game anyone could enjoy, from experienced players to those who have never before used the machine. The actual gameplay is never too difficult to bar someone from enjoying it. At two hours long, the game is the length of a tight movie. It tells an impactful story in about a dozen vignettes. After confronting the game’s conclusion, and after a brief chill runs down your spine, you will witness video games as storytelling at its very best.
I should be up front: the developer of this game did something very nice for me. They exchanged a digital Steam code on my ancient PC for a shiny new code for the Xbox One version. It does not affect my opinion of the actual game, but it should be mentioned. Regardless, please note: the developers are pretty cool.
The story is told in a dozen or so short vignettes over the span of two hours. The short time frame, however, does not deter from the overall narrative. It is a collection of fascinating stories--some which are better than others--all told in a sitting or two. Each chapter follows events or moments in the lives of individual members of the Finch family. The theme is macabre (I mean, death is constantly encompassing) but not necessarily horrifying. And honestly, to say anymore about the experience would be a detriment.
When I say some of the stories are better than others, each episode takes a different approach. They all follow a different character, take place in another wing of the house, and utilize a new gameplay mechanic. Will all of these variations, some do fall short. Some characters are less interesting than others, or the new mechanic does not feel quite right. The beauty of the game’s format, however, eases from one story to the next so a weaker one does not linger. On the other hand, the stories are diverse and inventive, so they feel fresh. The highlights are very high.
The events spread throughout the brilliant set piece that is the Finch family house. A massive, sprawling structure complete with secret corridors and hideaways, simply exploring the house is a marvelous experience. For the couple hours spent in the house, the player begins to feel like another inhabitant. The house feels handcrafted yet bolted together, like a jigsaw puzzle. In reality, it would be a desirable place to explore.
Suffice to say, What Remains of Edith Finch is well worth the time. It is the type of game anyone could enjoy, from experienced players to those who have never before used the machine. The actual gameplay is never too difficult to bar someone from enjoying it. At two hours long, the game is the length of a tight movie. It tells an impactful story in about a dozen vignettes. After confronting the game’s conclusion, and after a brief chill runs down your spine, you will witness video games as storytelling at its very best.
Wednesday, January 31, 2018
Album Review: Jeff Rosenstock - POST-
Before I even put on Jeff Rosenstock’s new album, I wondered what the title meant. Because I had done no research, simply picking it up after a favorable review, I presumed the title POST- had something to do with genre. Typically in music (or any art form, for that matter), “post-” refers to a stylistic shift. I wondered if that was the case here, if the album was a departure from the artist's previous work. It did not really matter though, considering I was also unfamiliar with the artist. To be fair, I never do much research on music before I listen to it.
At any rate, since I had no expectations, I was pleasantly surprised when the album blew me away. My theory about genre shift was partly correct. Bookended by a 7- and an 11-minute song, the album accomplishes a variety of styles. Furthermore, each of the styles function incredibly well in their moment. Every song is given a chance to breathe. From the anthemic opener to the melodic close, the album resonated with me, fairly immediately and constantly.
Although musical styles evolve during the album’s run, each song has a personability which remains throughout. Even the most raw songs are endearing, as if Rosenstock is presenting a gift. The energy is both simplistic and brilliant. And despite the repeating oppressive nature of the words, there is a sense of hopefulness nothing short triumphant.
The best art comes from turbulent eras, and POST- feels very much a part of its time. The opening track is an angry, resilient yelling match about the state of life, appropriately titled “USA.” This bleeds directly into an equally angry, yet equally resilient “Yr Throat.” The finale reassures us that we will do anything but “Let Them Win.” (You can fill in your personal ‘them.’) All of this should come as no surprise in 2018. In fact, it becomes more difficult not to listen to the music without the lens of time and place.
Only a couple listens of this new album were enough to make me go back to his older material. With POST-, I found, Rosenstock doesn't really do anything new. I know this sounds like an indictment, but it's not meant to be. Instead, what I mean is that there is a melding of a variety of different sources. These sources are evident throughout the record. There are echoes of Weezer, shades of Titus Andronicus, even bits of DIY punk. In effect, I think this is why the album appeals so much to me. Is nostalgia enough to win over an album? Can you even call it "nostalgia" if it is for something you have never before experienced? Over the course of 40 minutes, POST- effortlessly manages to transport me to different eras of my musical tastes. It would not sound out of place to me in high school or in college. It is certainly not out of place for me now.
At any rate, since I had no expectations, I was pleasantly surprised when the album blew me away. My theory about genre shift was partly correct. Bookended by a 7- and an 11-minute song, the album accomplishes a variety of styles. Furthermore, each of the styles function incredibly well in their moment. Every song is given a chance to breathe. From the anthemic opener to the melodic close, the album resonated with me, fairly immediately and constantly.
Although musical styles evolve during the album’s run, each song has a personability which remains throughout. Even the most raw songs are endearing, as if Rosenstock is presenting a gift. The energy is both simplistic and brilliant. And despite the repeating oppressive nature of the words, there is a sense of hopefulness nothing short triumphant.
The best art comes from turbulent eras, and POST- feels very much a part of its time. The opening track is an angry, resilient yelling match about the state of life, appropriately titled “USA.” This bleeds directly into an equally angry, yet equally resilient “Yr Throat.” The finale reassures us that we will do anything but “Let Them Win.” (You can fill in your personal ‘them.’) All of this should come as no surprise in 2018. In fact, it becomes more difficult not to listen to the music without the lens of time and place.
Only a couple listens of this new album were enough to make me go back to his older material. With POST-, I found, Rosenstock doesn't really do anything new. I know this sounds like an indictment, but it's not meant to be. Instead, what I mean is that there is a melding of a variety of different sources. These sources are evident throughout the record. There are echoes of Weezer, shades of Titus Andronicus, even bits of DIY punk. In effect, I think this is why the album appeals so much to me. Is nostalgia enough to win over an album? Can you even call it "nostalgia" if it is for something you have never before experienced? Over the course of 40 minutes, POST- effortlessly manages to transport me to different eras of my musical tastes. It would not sound out of place to me in high school or in college. It is certainly not out of place for me now.
Sunday, December 31, 2017
This Year in Music, 2017
The end of the year is the time to think subjectively about the past year and determining the best creative output. I thoroughly, thoroughly enjoy the end of the year for this reason. Nothing makes me happier than seeing lists begin to fly with titles that read "Best ______s of 2017." I try to be as proactive as possible, so I can have thoughts on the year as well. So, I have opinions on this year in music! Here is my process:
Throughout the year, I checked out as much new music as I cared to based on various sites and blogs. By the end of the year, of the dozens I listened to, I had culled 33 albums that made my favorites of the year. Next, I listened exclusively to those select few and tried to sort them from there. This was enjoyable, as I had amassed (what I personally thought was) an excellent list of music. Some of the albums were not as amazing as I had remembered; others were surprisingly better than I had credited at the time. It goes without saying any of the following are worth listening. Still, I've separated them into three tiers: 'B' for pretty good, 'A' for pretty great, and 'S' for must-listen. They are listed alphabetically. Follow along, and Happy 2018!
B-Tier
Aromanticism - Moses Sumney
DAMN. - Kendrick Lamar
Halo - Juana Molina
In Spades - The Afghan Whigs
Near to the Wild Heart of Life - Japandroids
Pleasure - Feist
Ty Segall - Ty Segall
A-Tier
American Dream - LCD Soundsystem
CCFX EP - CCFX
Culture - Migos
A Deeper Understanding - The War on Drugs
Exile on the Outer Rings - EMA
Hope - Shamir
Hug of Thunder - Broken Social Scene
I Used to Spend So Much Time Alone - Chastity Belt
Love What Survives - Mount Kimbie
MASSEDUCTION - St. Vincent
Melodrama - Lorde
Playboi Carti - Playboi Carti
Rest - Charlotte Gainsbourg
Rocket - (Sandy) Alex G
Routines - Hoops
Science Fiction - Brand New
Significant Weather - Real Life Buildings
Sugar at the Gate - TOPS
S-Tier
Throughout the year, I checked out as much new music as I cared to based on various sites and blogs. By the end of the year, of the dozens I listened to, I had culled 33 albums that made my favorites of the year. Next, I listened exclusively to those select few and tried to sort them from there. This was enjoyable, as I had amassed (what I personally thought was) an excellent list of music. Some of the albums were not as amazing as I had remembered; others were surprisingly better than I had credited at the time. It goes without saying any of the following are worth listening. Still, I've separated them into three tiers: 'B' for pretty good, 'A' for pretty great, and 'S' for must-listen. They are listed alphabetically. Follow along, and Happy 2018!
B-Tier
Aromanticism - Moses Sumney
DAMN. - Kendrick Lamar
Halo - Juana Molina
In Spades - The Afghan Whigs
Near to the Wild Heart of Life - Japandroids
Pleasure - Feist
Ty Segall - Ty Segall
A-Tier
American Dream - LCD Soundsystem
CCFX EP - CCFX
Culture - Migos
A Deeper Understanding - The War on Drugs
Exile on the Outer Rings - EMA
Hope - Shamir
Hug of Thunder - Broken Social Scene
I Used to Spend So Much Time Alone - Chastity Belt
Love What Survives - Mount Kimbie
MASSEDUCTION - St. Vincent
Melodrama - Lorde
Playboi Carti - Playboi Carti
Rest - Charlotte Gainsbourg
Rocket - (Sandy) Alex G
Routines - Hoops
Science Fiction - Brand New
Significant Weather - Real Life Buildings
Sugar at the Gate - TOPS
S-Tier
A Crow Looked at Me - Mount Eerie
Guppy - Charly Bliss
Last Place - Grandaddy
Life Without Sound - Cloud Nothings
Nothing Special - Harmony Woods
Powerplant - Girlpool
Sorcerer - Tonstartssbandht
Turn Out the Lights - Julien Baker
Guppy - Charly Bliss
Last Place - Grandaddy
Life Without Sound - Cloud Nothings
Nothing Special - Harmony Woods
Powerplant - Girlpool
Sorcerer - Tonstartssbandht
Turn Out the Lights - Julien Baker
Tuesday, November 21, 2017
Andre Drummond, Point Center
As of this writing, the Detroit Pistons are 11-6. Respectable, yet not astounding, the record is good for a top-4 spot in the Eastern Conference and a lead in the Central division. For a team originally slated for 38.5 wins, however, now projected somewhere in the mid-forties and on pace for even more, this is a fantastic start. For a team with only one playoff berth this decade, moreover, this is even better. Seventeen games is still a small sample size, to be sure, but one that keeps getting bigger.
During an especially hectic NBA offseason, the Pistons were relatively quiet. That meant mostly familiar faces would make up the lineup, players whose strengths and faults were already known to a fanbase. Few of these players would be under as much scrutiny as Andre Drummond. Signed to a maximum contract, Drummond bears much of the brunt of the team’s successes and failures. In an era when teams are largely shifting away from centers and towards point guards as cornerstones, Drummond’s max deal raised some eyebrows. It has been interesting to watch the trajectory of discussion surrounding offensive statistics since his contract year.
Two years ago (the lone year the Pistons qualified for the playoffs) the focus was on a positive stat: rebounds. The center led the league in rebounds--the first Piston to do so since Ben Wallace in 2003--with the third-most total rebounds for a season in Pistons’ history. This earned him a max contract during the offseason. The following year (as the Pistons underachieved and missed the playoffs) focus turned to historically poor free throw shooting which made him a late-game liability. His rebounding remained consistent, but the foul shots were the scapegoat for his season. Now that the team is winning games again, it is time to look for positive statistics that contribute to the wins. One stat in particular jumps out: assists.
In his first five seasons in the league, Andre Drummond cracked an average of one assist per game one time--at 1.1. This season, he has more than tripled that average to 3.4. Through seventeen games, Drummond has more assists than in any of his first three seasons. At this rate, he will hit his career best season by the middle of December. Unbelievably, Drummond trails only the two point guards--Reggie Jackson and Ish Smith--in total assists. He even led all Pistons with seven assists in the November 10 game against Atlanta.
What does this mean? The obvious answer is more points. The Pistons are currently posting their highest offensive rating in ten years (since 2007-08), in which they lost in the Eastern Conference Finals. There are numerous other factors involved, of course, but Drummond’s personal offensive rating cannot be discounted. Since Drummond is already pulling down a greater than average number of rebounds, an increase in assists shows that he has an option other than to go right back up and score. He can pass out to a wing for an open shot or look elsewhere to find weak defense.
It also means he is more confident handling the ball at places on the court other than below the basket. This makes him more effective in the eventual pick-and-roll. He can receive a pass and look to set up a play--or get it to someone who can--extending the shot clock.
The increase in assists has led to a higher turnover rate, which is to be expected. This season, Drummond is nearly doubling his career average in turnovers. Short of watching every possession, it is not easy to determine how many turnovers are direct results of attempted assists, but 22 of his 57 turnovers have come from bad passes. It is safe to assume several of these are related to more aggressive passing.
Of course, one statistic is far from enough to determine the success of a team--or even a player. But it is a part of the story: more assists makes for a more well-rounded player. And if Andre Drummond can keep up this level of offensive efficiency by adapting this new role, the Detroit Pistons are better for it.
During an especially hectic NBA offseason, the Pistons were relatively quiet. That meant mostly familiar faces would make up the lineup, players whose strengths and faults were already known to a fanbase. Few of these players would be under as much scrutiny as Andre Drummond. Signed to a maximum contract, Drummond bears much of the brunt of the team’s successes and failures. In an era when teams are largely shifting away from centers and towards point guards as cornerstones, Drummond’s max deal raised some eyebrows. It has been interesting to watch the trajectory of discussion surrounding offensive statistics since his contract year.
Two years ago (the lone year the Pistons qualified for the playoffs) the focus was on a positive stat: rebounds. The center led the league in rebounds--the first Piston to do so since Ben Wallace in 2003--with the third-most total rebounds for a season in Pistons’ history. This earned him a max contract during the offseason. The following year (as the Pistons underachieved and missed the playoffs) focus turned to historically poor free throw shooting which made him a late-game liability. His rebounding remained consistent, but the foul shots were the scapegoat for his season. Now that the team is winning games again, it is time to look for positive statistics that contribute to the wins. One stat in particular jumps out: assists.
In his first five seasons in the league, Andre Drummond cracked an average of one assist per game one time--at 1.1. This season, he has more than tripled that average to 3.4. Through seventeen games, Drummond has more assists than in any of his first three seasons. At this rate, he will hit his career best season by the middle of December. Unbelievably, Drummond trails only the two point guards--Reggie Jackson and Ish Smith--in total assists. He even led all Pistons with seven assists in the November 10 game against Atlanta.
What does this mean? The obvious answer is more points. The Pistons are currently posting their highest offensive rating in ten years (since 2007-08), in which they lost in the Eastern Conference Finals. There are numerous other factors involved, of course, but Drummond’s personal offensive rating cannot be discounted. Since Drummond is already pulling down a greater than average number of rebounds, an increase in assists shows that he has an option other than to go right back up and score. He can pass out to a wing for an open shot or look elsewhere to find weak defense.
It also means he is more confident handling the ball at places on the court other than below the basket. This makes him more effective in the eventual pick-and-roll. He can receive a pass and look to set up a play--or get it to someone who can--extending the shot clock.
The increase in assists has led to a higher turnover rate, which is to be expected. This season, Drummond is nearly doubling his career average in turnovers. Short of watching every possession, it is not easy to determine how many turnovers are direct results of attempted assists, but 22 of his 57 turnovers have come from bad passes. It is safe to assume several of these are related to more aggressive passing.
Of course, one statistic is far from enough to determine the success of a team--or even a player. But it is a part of the story: more assists makes for a more well-rounded player. And if Andre Drummond can keep up this level of offensive efficiency by adapting this new role, the Detroit Pistons are better for it.
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